My name is Jim Christopher and this is my fiction writing blog. I took the name from an old writing adage that says one needs to "Kill Your Darlings" when revising your work.
Writing is rewriting so I will be posting revised works here in addition to works in progress and stories that I consider to be "finished."
Thanks for reading. Comments are much appreciated. - Jim C

Tuesday, June 3, 2014

The following memo relates primarily to screenwriting and television, however, since Mamet is essentially a dramatist I think the comments he expresses here relate well to just about all good writing. This show, THE UNIT, was cancelled a little while ago, but the Memo was written by David Mamet to his team of writers while it was still in active production. - JC

***************************

CBS's
drama The Unit, about the lives of the highly trained members of a
top-secret military division, was canceled last year, but a memo to its
writing staff from its executive producer David Mamet has just surfaced
online. (The source appears to be the online writing collective Ink
Canada.) If you think you know where this is heading, you might be
wrong:
Besides the fact that it's written in all-caps, there's nothing
particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet
lays down an extremely sensible case for what makes good television,
imploring them to avoid expository writing for what he characterizes as
authentic "drama." Along the way, he refers repeatedly to the
"blue-suited penguins" (probably the copious-note-givers at the
network), while passing along some very useful advice ("any time two
characters are talking about a third, the scene is a crock of shit") and
helpful writing exercises ("pretend the characters can't speak and
write a silent movie"). Screenwriters, take note: You may think you knew
this already, but there's nothing like Mamet for a good kick-in-the-ass
reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET
ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE
TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE
BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO
COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU
WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE
IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO
OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE
GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE
QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR
ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY
ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS,
REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER.
YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING
ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST
DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE
ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE
BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE
ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER
JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST.
IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A
SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW
UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT
TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE -
THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF
NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE
EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE
(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER
SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN
ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND
IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT
HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY,
BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS
NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM
WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE
THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN
FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS
INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE
THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT
HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING
INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE
ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN
THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE
DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST
CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR
EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS
NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA
FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU
ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A
THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS,
TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO
KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE
SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE
IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING,
OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR
YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY
HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION,
WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU
WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,
OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE
STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES
TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT
DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY
QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND
MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER.
UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)"

"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU
WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE
IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO
OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS,
REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING
ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST
DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE
ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER
JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST.
IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST
HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO
SHOW UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE
(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER
SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE
THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN
FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE
NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT
HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE
INTERESTED IN WHAT HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC.
it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE
WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT
ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS,
TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO
KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE,
FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY
SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER. UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.

CBS's
drama The Unit, about the lives of the highly trained members of a
top-secret military division, was canceled last year, but a memo to its
writing staff from its executive producer David Mamet has just surfaced
online. (The source appears to be the online writing collective Ink
Canada.) If you think you know where this is heading, you might be
wrong:
Besides the fact that it's written in all-caps, there's nothing
particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet
lays down an extremely sensible case for what makes good television,
imploring them to avoid expository writing for what he characterizes as
authentic "drama." Along the way, he refers repeatedly to the
"blue-suited penguins" (probably the copious-note-givers at the
network), while passing along some very useful advice ("any time two
characters are talking about a third, the scene is a crock of shit") and
helpful writing exercises ("pretend the characters can't speak and
write a silent movie"). Screenwriters, take note: You may think you knew
this already, but there's nothing like Mamet for a good kick-in-the-ass
reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET
ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE
TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE
BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO
COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU
WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE
IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO
OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE
GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE
QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR
ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY
ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS,
REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER.
YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING
ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST
DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE
ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE
BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE
ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER
JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST.
IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A
SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW
UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT
TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE -
THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF
NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE
EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE
(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER
SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN
ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND
IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT
HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY,
BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS
NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM
WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE
THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN
FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS
INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE
THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT
HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING
INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE
ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN
THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE
DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST
CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR
EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS
NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA
FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU
ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A
THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS,
TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO
KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE
SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE
IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING,
OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR
YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY
HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION,
WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU
WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,
OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE
STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES
TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT
DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY
QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND
MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER.
UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)"

CBS's
drama The Unit, about the lives of the highly trained members of a
top-secret military division, was canceled last year, but a memo to its
writing staff from its executive producer David Mamet has just surfaced
online. (The source appears to be the online writing collective Ink
Canada.) If you think you know where this is heading, you might be
wrong:
Besides the fact that it's written in all-caps, there's nothing
particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet
lays down an extremely sensible case for what makes good television,
imploring them to avoid expository writing for what he characterizes as
authentic "drama." Along the way, he refers repeatedly to the
"blue-suited penguins" (probably the copious-note-givers at the
network), while passing along some very useful advice ("any time two
characters are talking about a third, the scene is a crock of shit") and
helpful writing exercises ("pretend the characters can't speak and
write a silent movie"). Screenwriters, take note: You may think you knew
this already, but there's nothing like Mamet for a good kick-in-the-ass
reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET
ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE
TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE
BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO
COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU
WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE
IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO
OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE
GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE
QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR
ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY
ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS,
REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER.
YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING
ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST
DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE
ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE
BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE
ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER
JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST.
IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A
SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW
UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT
TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE -
THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF
NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE
EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE
(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER
SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN
ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND
IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT
HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY,
BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS
NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM
WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE
THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN
FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS
INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE
THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT
HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING
INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE
ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN
THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE
DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST
CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR
EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS
NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA
FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU
ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A
THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS,
TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO
KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE
SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE
IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING,
OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR
YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY
HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION,
WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU
WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,
OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE
STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES
TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT
DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY
QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND
MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER.
UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)"

CBS's
drama The Unit, about the lives of the highly trained members of a
top-secret military division, was canceled last year, but a memo to its
writing staff from its executive producer David Mamet has just surfaced
online. (The source appears to be the online writing collective Ink
Canada.) If you think you know where this is heading, you might be
wrong:
Besides the fact that it's written in all-caps, there's nothing
particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet
lays down an extremely sensible case for what makes good television,
imploring them to avoid expository writing for what he characterizes as
authentic "drama." Along the way, he refers repeatedly to the
"blue-suited penguins" (probably the copious-note-givers at the
network), while passing along some very useful advice ("any time two
characters are talking about a third, the scene is a crock of shit") and
helpful writing exercises ("pretend the characters can't speak and
write a silent movie"). Screenwriters, take note: You may think you knew
this already, but there's nothing like Mamet for a good kick-in-the-ass
reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET
ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE
TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE
BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO
COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU
WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE
IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO
OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE
GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE
QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR
ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY
ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS,
REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER.
YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING
ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST
DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE
ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE
BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE
ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER
JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST.
IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A
SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW
UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT
TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE -
THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF
NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE
EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE
(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER
SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN
ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND
IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT
HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY,
BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS
NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM
WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE
THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN
FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS
INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE
THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT
HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING
INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE
ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN
THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE
DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST
CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR
EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS
NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA
FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU
ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A
THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS,
TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO
KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE
SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE
IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING,
OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR
YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY
HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION,
WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU
WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,
OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE
STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES
TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT
DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY
QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND
MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER.
UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)"

CBS's
drama The Unit, about the lives of the highly trained members of a
top-secret military division, was canceled last year, but a memo to its
writing staff from its executive producer David Mamet has just surfaced
online. (The source appears to be the online writing collective Ink
Canada.) If you think you know where this is heading, you might be
wrong:
Besides the fact that it's written in all-caps, there's nothing
particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet
lays down an extremely sensible case for what makes good television,
imploring them to avoid expository writing for what he characterizes as
authentic "drama." Along the way, he refers repeatedly to the
"blue-suited penguins" (probably the copious-note-givers at the
network), while passing along some very useful advice ("any time two
characters are talking about a third, the scene is a crock of shit") and
helpful writing exercises ("pretend the characters can't speak and
write a silent movie"). Screenwriters, take note: You may think you knew
this already, but there's nothing like Mamet for a good kick-in-the-ass
reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET
ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE
TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE
BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO
COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU
WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE
IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO
OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE
GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE
QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR
ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY
ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS,
REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER.
YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING
ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST
DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE
ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE
BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE
ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER
JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST.
IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A
SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW
UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT
TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE -
THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF
NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE
EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE
(THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER
SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN
ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND
IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT
HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY,
BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS
NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM
WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE
THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN
FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS
INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE
THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT
HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING
INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE
ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN
THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE
DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST
CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR
EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS
NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA
FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU
ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A
THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS,
TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO
KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE
SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE
IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING,
OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR
YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY
HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION,
WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU
WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED,
OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE
STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES
TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT
DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY
QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
SANTA MONICA 19 OCTO 05
(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND
MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER.
UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)"

It had taken him twenty-five minutes to
descend the long, steep corroding steps while salt spray stung his face and the
cold swirling dampness struck with each successive wave. He was nearly exhausted when he reached
the bottom but heaved himself forward until he was within a dozen yards of the
surf.

The
sound was beyond deafening. With all the
subtlety of a freight train careening over a chasm the Pacific hurled itself
relentlessly into the narrow rocky inlet.
Each new assault threatened to leave him battered. But like this recalcitrant cove he was
steadfast in his quest. Like the sea,
unrelenting.

The
beach was dotted with sun-blanched driftwood and the pinkish-red corpses of
unlucky crabs the gulls had picked bare.
Mounds of spaghetti-like green and orange seaweed huddled alongside
dense leafy bundles of tide-twisted plant life.
Clusters of pulsing anemones, starfish and mussels clung to the
algae-coated rocks.

He
detached the aluminum forearm-crutch and raised it over his head. The moon stared down like a watchful elder as
he cocked his arm and hurled it into the surf.
It floated on the foamy surface for a moment before being swallowed up
by a ferocious wave. He leaned his
weight on the remaining crutch and dragged himself forward, his shriveled legs
trailed behind leaving snakelike impressions in the sand.

His
remaining crutch lost its grip on a salt-slickened patch and he tumbled
forward, face-planting into the rocky sand, his mouth filling swiftly with the
brackish seawater – his nose assaulted by the stench as a horde of beach flies
swirled into his eyes.

He
unbuckled the offending crutch and sent it clattering into the rocky tide pool.
He was alone now. Unshackled and unprotected. He tasted salt on his lips. Felt the sand crunch like bits of glass in
his teeth. He sensed subtle motion
beneath his fingers where clams gasped upward with sucking mouths and the sand
crabs scuttled about in tiny pockets of air.

He
hoisted himself upright onto his hands like a beached mermaid and gazed out at
the surf. The moonlight was sparkling on
the water. He tried to remember what it
felt like to swim.

A
California Gull twisted, arched and dove striking the surface and emerging with
a prize. Lt. Paul Leland Johnson, former
platoon commander and US Navy SEAL, reached the water’s edge with three
powerful thrusts of his arms and slipped beneath the waves with the silent
grace of a sea mammal.